Shakespeare: the Man Who Pays the Rent
Haven’t seen much of her work lately, but did see her on stage, back in the day.
Accomplished, and according to rumor, she would just glance at the script then perform flawlessly.
Tiny interesting point, intersection of players. Ben Whishaw, as young actor, did the most amazing emo Hamlet at the old Vic. Did a Bond film with her? Never mind.
Digging through video archives, trying to find her performances, I stumbled into the book, and picked it up at the bookstore.
Shakespeare: the Man Who Pays the Rent
Early stuff, Stratford-on-Avon:
“It was such an honour. Both Ken (Kenneth Branagh) and I were given it. It means we can now walk our sheep through Stratford with impunity.” Page 25.
Shows the humor, I hope. Might not translate.
It’s about getting an award in Stratford, you know, an important recognition.
“There’s no right way of performing Shakespeare. And that’s why the plays are still being done.” Page 28.
In a nutshell.
“I was told that a long speech like this can be divided into three sections: thesis (where the argument is stated), antithesis (where the argument is explored), and synthesis (where there’s some kind of resolution, which may indeed be another question ).”
Note on the side, why I love Shakespeare’s works.
About playing in Coriolanus?
”If ever you needed to learn the art of political chicanery, then Volumnia is the expert.” Page 111.
Yeah, Coriolanus’ manipulative mum, Volumnia. As told by the player, “action is eloquence” (here & here.)
From — about — near the end of Lear…
“Someone said that good writing should contain three levels of conflict – personal (inner conflict), interpersonal (between family and friends) and extra-personal (societal conflict). You’ve got all three in this scene.” Page 166.
Draws out a level of the characters I never saw before, but is very much there. Or can be found in the text of play.
On Comedy of Errors —
“Most of Shakespeare’s comedies start with displacement and strife. The tragedies, on the other hand, tend to open with celebrations and optimism.” Page 177.
Noted.
There’s an English lilt and cadence to the writing, almost audible itself. The only other place I’ve ever really experienced such a “voice” is with a few of the Larry McMurtry novels, the “Texas” accent so clear, over the printed page.
“Yes, all you can do is open a few doors, and hope that people’s passion and curiosity will send them off on their own paths. People need to experience their own adventures, and find out things for themselves.” Page 315.
Echoes sentiment.
Shakespeare: the Man Who Pays the Rent
Dame Judi Dench was an RSC player for years and years, decades, maybe? I know I’ve got a video or two of hers, on stage, or film versions of staged productions, and she was wonderful evocative. This book is like “liner notes” and a collection of thoughts, ramblings, and then, off-the-cuff comments from her producers, the great directors over the years. A few F-bombs, as might be her style.
